Willi Baumeister (January 22, 1889 ?C August 31, 1955) was a German painter, scenic designer, art professor, and typographer. Willi Baumeister, born in Stuttgart in 1889, completed an apprenticeship as a decorative painter in his native city from 1905 to 1907, followed by military service (fall 1907?C1908). Even during his apprenticeship, Baumeister had already commenced his art studies at the Stuttgart Art Academy (Königlich Werttembergische Akademie) (1905?C1906), attended Robert Poetzelbergers drawing class, and took additional lessons from Josef Kerschensteiner. In 1906 he resumed his apprenticeship and, in 1907, completed the trade test. Following his military service, Baumeister continued his studies at the art academy. Dismissed by his teacher Poetzelberger due to lack of talent, he switched into the composition class of Adolf Holzel, with whom he studied until 1912, where he met his life-long friend, Oskar Schlemmer. Baumeister took his first trip to Paris in 1911, successfully participated in a gallery exhibition in Zurich in 1912 and a year later participated in Der Erste Deutsche Herbstsalon (The First German Autumn Salon) in the Berlin gallery Der Sturm. There he met the expressionist painter Franz Marc. In 1914 Baumeister had his first solo exhibition at Der Neue Kunstsalon (New Art Salon) in Stuttgart. In the same year, Adolf Hölzel arranged a commission for wall paintings at the Deutsche Werkbund-Ausstellung (German Werkbund Exhibition) in Cologne for Baumeister, Schlemmer, and Herman Stenner. Prior to being drafted into the army in the summer of 1914 (until 1918), Baumeister travelled to Amsterdam, London, and Paris. Even during the war, Baumeister met the painter Oskar Kokoschka and the architect Adolf Loos in Vienna in 1915. In 1916 he participated in the exhibition Hölzel und sein Kreis (Hölzel and his Circle) at the Art Association in Freiburg im Breisgau, which was subsequently shown at the Ludwig Schames Art Salon in Frankfurt am Main. In 1918, still prior to being discharged from military service, he threw an exhibition with his friend Oskar Schlemmer at the Galerie Schaller in Stuttgart. Baumeister and Schlemmer campaigned to bring Paul Klee to the Stuttgart Academy, which was rejected by the Academy. Klee, in his part, however, would have been willing to come. In 1919 Baumeister became a member of the Berlin artist association Novembergruppe (November Group). The group was founded by Max Pechstein in 1918, immediately following Germanys capitulation and the fall of the monarchy. It remained one the most important alliances of German artists until 1933. In Stuttgart in 1919, Baumeister took up the initiative with Schlemmer and other artists to found the artist group Üecht (Alemannic: genuine, true), which he left in 1921. In 1919 he produced his first stage design, which was followed by seventeen others. In 1920 Baumeister completed his art studies, worked as an independent artist, and participated in exhibitions in Berlin, Dresden, and Hagen. His popularity and recognition abroad became evident in a joint exhibition with Fernand Leger in the Berlin gallery Der Sturm in 1922. During these years, Baumeister developed professional relationships with artists such as Paul Klee, Leger, Le Corbusier, Amedee Ozenfant, and Michel Seuphor. In 1924 several of his works were shown at the Erste Allgemeine Deutsche Kunstausstellung (First General German Art Exhibition) in Moscow and, in 1925, he participated in the Paris exhibition L'Art deaujourdehui (Art Today). Alongside his artistic work, he was also active in the area of commercial art and designed advertisements for numerous companies, such as Bosch and DLW (Deutsche Linoleumwerke)  Related Paintings of willi baumeister :. | The Habitant Farm | Portrait of Samuel Ampzing | Orientation | Arab or Arabic people and life. Orientalism oil paintings 507 | Slottskyrkans roof |
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Adolf Ulrik Wertmuller
(February 18, 1751 e October 5, 1811) was a Swedish painter whose notable works include Danaë receiving Jupiter in a Shower of Gold. Wertmeller was born in Stockholm and studied art at home before moving to Paris in 1772 to study under his cousin Alexander Roslin and French painter Joseph-Marie Vien. On July 30, 1784, Wertmeller was elected to the Royal Academy of Painting and Sculpture. Wertmeller was commissioned by Gustav III of Sweden for a portrait of Marie Antoinette, which is now in the Nationalmuseum at Stockholm. In 1787, he produced his masterpiece Danaë, a work which proved controversial as one of the earliest female nude paintings exhibited in America. Wertmeller first emigrated to the United States in May 1794 and continued his portrait work, most notably of General George Washington, but in 1796 was called back to Sweden, eventually returning to Philadelphia in 1800. Elizabeth B. Johnston, in her book Original Portraits of Washington (Boston, 1882), speaks of five portraits of Washington by Wertmeller, of which one, executed in 1797, was purchased by the U. S. government in 1878, and another is owned by the Historical Society of Pennsylvania. Wertmeller was married to Elizabeth Henderson, granddaughter of noted early American painter Gustavus Hesselius, on January 8, 1801, and two years later retired to a plantation in Claymont, Delaware, where he lived the final years of his life. He died near Marcus Hook, Pennsylvania, aged 60.
Pascal Dagnan-Bouveret
(January 7, 1852 - July 3, 1929), was one of the leading French artists of the academic school. He was born in Paris, the son of a tailor, and was raised by his grandfather after his father emigrated to Brazil. Later he added his grandfatheres name, Bouveret, to his own. From 1869, he studied at the Ecole des Beaux-Arts under Alexandre Cabanel and Jean-Leon Gerôme. In 1873, he opened his own studio with a fellow student Gustave-Claude-Etienne Courtois. From 1875, he exhibited at the Salon, where in 1880 he won the first-class medal for the painting An Accident, and a medal of honour in 1885 for Horses at the Watering Trough. From the 1880s, Dagnan-Bouveret along with Gustave Courtois, maintained a studio in Neuilly-sur-Seine, a fashionable suburb of Paris. By that time he was recognized as a leading modern artist known for his peasant scenes, but also for his mystical-religious compositions. His large-scale painting The Last Supper was exhibited at the Salon de Champ-de-Mars in 1896.[1] He also painted portraits for wealthy clients including the British collector George McCulloch. He was one of the first to use the then new medium of photography to bring greater realism to his paintings. In 1891, he was made an Officer of the Legion of Honour; in 1900 he became a member of the Institut de France.
Niko Pirosmanashvili
(born Niko Pirosmanashvili; May 5, 1862-1918) was a Georgian primitivist painter. Pirosmani was born in the Georgian village of Mirzaani to a pleasant family in the Kakheti province. His family owned a small vineyard. He was later orphaned and put in the care of his two elder sisters. He moved with them to Tbilisi in 1870. In 1872 he worked as a servant for wealthy families and learned to read and write Russian and Georgian. In 1876 he returned to Mirzaani and worked as a herdsman. Pirosmani gradually taught himself to paint. One of his specialties was painting directly into black oilcloth. In 1882 he opened a workshop in Tbilisi which was unsuccessful. In 1890 he worked as a railroad conductor, and in 1895 worked creating signboards. In 1893 he co-founded a dairy farm in Tbilisi which he left in 1901. Throughout his life Pirosmani, who was always poor, was willing to take up ordinary jobs including housepainting and whitewashing buildings. Although his paintings had some local popularity (about 200 survive) his relationship with professional artists remained uneasy; making a living was always more important to him than abstract aesthetics.